Leyden Gallery is delighted to announce their new exhibition of works on paper bringing together a group of seven artists whose distinct practices and processes involve making art on paper. As a medium, paper offers flexibility, simplicity, and immediacy, it is also often under esteemed as a practice ‐ some of the artists involved here work primarily on paper, whilst others return to it again and again.
Drawing is often considered as the quintessential point from which the development of an idea moves through to a larger or more complex work – regardless of whether they contain the genesis of a larger work or are complete in themselves, drawings offer both the maker and the viewer direct appeal as intimate first-‐hand encounters.
Those involved in this exhibition range from the internationally renowned artist Christine Taylor Patten, whose practice of drawing spans over five decades, to newly emerging artists such as Daniel Hosego, an artist who first exhibited at Leyden Gallery in their Platform for Emerging Arts #5 show with a triptych of large screen-‐printed artworks originating from images, first painstakingly drawn across the pages of leather bound books. The parameters of Christine Taylor Patten’s work have importantly called attention to drawing as a cultural and curatorial practice. This can be attested to in the successful exhibition of her micro/macro 1001 drawings shown recently at the 14th Istanbul Biennial shortly after having exhibited 250 micros and one macro drawing at Leyden Gallery in March 2015.
The artist Hilary Ellis has recently returned to the practice of printmaking, which for her offers a more spontaneous approach to mark making, in which she is able to combine a number of different mediums, which she continues to use in her recent larger works but here is able to operate with more intimacy and immediacy – a break from the labour-‐intensive work she normally carries out on a grander scale.
Other artists involved are Goldsmiths graduate James Melloy, whose most recent work takes a fascinating turn to consider the medieval Book of Hours, whilst Hanna ten Doornkaat, Pernille Fraser and Pernilla Iggstrom (all previous Platform for Emerging Arts exhibitors at Leyden Gallery) each approach from a distinct and attentive methodology.
Whilst Fraser’s work considers the peripheral view; the movement, glances and glimmers of life, both Hanna ten Doornkaat’s drawings and Iggstrom’s layered use of collage and ink drawings explore the notion of compound memory.